After recording and sharing with all the interpreters over ten minutes of warm applause and unanimous approval on the first of Lear, work of the German composer Aribert Reimann directed by Calixto Bieito staged the 2 May (the second recitation Sunday 5 May at 15: 30, the last Thursday 9 at 20), the maestro Fabio Luisi returns to the podium of the Teatro del Maggio for the first symphonic concert of the LXXXII Festival as well as the last of the cycle dedicated to the integral work of Gustav Mahler and Franz Schubert. Saturday 4 May at 20 the master will direct theMay Orchestra in Symphony n. 2 in B flat major D.125 by Schubert and in the Symphony n. 4 in G major for soprano and orchestra by Gustav Mahler (soprano Marina Rebeka).

Symphony n. 2 in B flat major D.125 - Franz Schubert

If there is no doubt that the first symphonies composed by Schubert between the ages of sixteen and eighteen can be ascribed to an apprenticeship exercise matured in the sphere of Viennese classicism, it is also true that in them an original and highly personal symphonic sensitivity is already found. An example is the Symphony n. 2 in B flat major that engages Schubert between the end of the 1814 and the first months of the 1815 for fifteen weeks, a very long time compared to the sudden gestations of the Prima and Third, born in a few days. The structure chosen is the usual one: an introductory Adagio followed by an Allegro in forma-sonata, an Andante, here in the form of a theme with variations, a Minuetto in eighteenth-century style and a Presto finale. But while on the one hand Schubert shows himself respectful of classical conventions, especially in central movements, on the other he shows resourcefulness and the desire to experiment in a harmonious and formal field, through the original and unexpected modulations of the first time and the marked dynamic and timbric contrasts of matrix Beethovenian in the last movement.

Symphony n. 4 in G major for soprano and orchestra - Gustav Mahler

Composed between the 1899 and the 1900, the Symphony n. 4 in G major he ideally closes the first Mahler symphonic period centered on the poetics of Des Knaben Wunderhorn. As the Second and Third, also there Wednesday welcomes among his movements a song on a poetic text taken from the collection of Achim von Armin and Clemens Brentano, Das himmlische Leben ("The Celestial Life"), lyric initially designed for a seventh movement of the Third, then expunged, and then reused in the closing movement of the Fourth. Once again they are extra-musical poetic references to enliven the substance of this new symphony with song, in which the word illuminates the final goal of an interior poetic program. Also in the Fourth, in fact, the author reflects on existential themes already discussed above, but this time repeated through the filter of a boyish dream. Life in the celestial kingdom is sketched starting from the first movement in a deliberately humorous and easy-going way through a heterogeneous language that mixes classical styles with popular motifs, childhood melodies with dance movements, all accompanied by a light orchestration, in which they are made wide also the unusual sounds of the bells, in the first movement, or of the first violin granted a tone above, in the second movement, with a deliberately strident effect. The third time is one of the great Mahlerian contemplative Adagios, a moment of relaxation that opens the way to the ultimate vision of the kingdom of the beatitudes in the final movement, where the voice of that soprano is given the story of that singular otherworldly world made of small joys with angels who they dance, sing and cook today sort of delicacies. It is the dream of celestial life seen through the eyes of a child, emblem of nostalgic escape in the simple and enchanted world of childhood that can only be relived in musical transfiguration.